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Glossary of Musical Terminology
This is a list of musical terms that are likely to be encountered in printed scores, music reviews, and program notes. Most of the terms are Italian (see also Italian musical terms used in English), in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings. Most of the other terms are taken from French and German, indicated by "Fr." and "Ger.", respectively.
Unless specified, the terms are Italian or English. The list can never be complete: some terms are common, and others are used only occasionally, and new ones are coined from time to time. Some composers prefer terms from their own language rather than the standard terms listed here.
On these organ stops, some of the knobs have numbers indicating the length in feet of the longest (the lowest note) organ pipe of the stop
in violin family instrument music, used to indicate that the player should play the passage on the highest-pitched, thinnest string
intended as a duet; for two voices or instruments; together; two instruments are to play in unison after a solo passage for one of the instruments
To nothing; indicating a diminuendo which fades completely away
At pleasure (i.e. the performer need not follow the rhythm strictly, for example in a cadenza)
a prima vista
lit. "at first sight". Sight-reading (i.e. played or sung from written notation but without prior review of the written material. Refer to the figure.)
In time (i.e. the performer should return to the main tempo of the piece, such as after an accelerando or ritardando); also may be found in combination with other terms such as a tempo giusto (in strict time) or a tempo di menuetto (at the speed of a minuet)
A liturgical or other composition consisting of choral responses, sometimes between two choirs; a passage of this nature forming part of another composition; a repeated passage in a psalm or other liturgical piece, similar to a refrain.
A style of composition in which two sections of singers or instrumentalists exchange sections or music one after the other; typically the performers are on different sides of a hall or venue
like a harp (i.e. the notes of the chords are to be played quickly one after another instead of simultaneously). In music for piano, this is sometimes a solution in playing a wide-ranging chord whose notes cannot be played otherwise. Arpeggios are frequently used as an accompaniment. See also broken chord.
Much, Very much
Attack or attach; go straight on (i.e. at the end of a movement, a direction to attach the next movement to the previous one, without a gap or pause)
ausdrucksvoll or mit Ausdruck (Ger.)
Expressively, with expression
With or with another
German for B flat (also in Swedish, Norwegian, Finnish, Icelandic, Danish, Croatian, Estonian and Hungarian); H in German is B natural
(from the Italian Ballabile meaning "danceable") In ballet the term refers to a dance performed by the corps de ballet. The term Grand ballabile is used if nearly all participants (including principal characters) of a particular scene in a full-length work perform a large-scale dance.
The lowest of the standard four voice ranges (bass, tenor, alto, soprano); the lowest melodic line in a musical composition, often thought of as defining and supporting the harmony; in an orchestral context, the term usually refers to the double bass.
Continuous bass (i.e. a bass accompaniment part played continuously throughout a piece by a chordal instrument (pipe organ, harpischord, lute, etc.), often with a bass instrument, to give harmonic structure), used especially in the Baroque period
Used in the 17th-century to refer to ornaments consisting of two adjacent notes, such as trills or mordents
To strike the strings with the bow (on a bowed stringed instrument)
1. Transitional passage connecting two sections of a composition, or between two A sections (e.g., in an A/B/A form).
2. Part of a violin family or guitar/lute stringed instrument that holds the strings in place and transmits their vibrations to the resonant body of the instrument.
Brilliantly, with sparkle. Play in a showy and spirited style.
brio or brioso
Vigour; usually in con brio: with spirit or vigour
A chord in which the notes are not all played at once, but in some more or less consistent sequence. They may follow singly one after the other, or two notes may be immediately followed by another two, for example. See also arpeggio, which as an accompaniment pattern may be seen as a kind of broken chord; see Alberti bass.
The concluding, rapid, audience-rousing section of an aria
In a singing style. In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible, legato.
Chorus; choral; chant
cantus mensuratus or cantus figuratus (Lat.)
Meaning respectively "measured song" or "figured song". Originally used by medieval music theorists, it refers to polyphonic song with exactly measured notes and is used in contrast to cantus planus. A later term for cantus mensuratus or cantus figuratus is cantus musicus ("musical song").
1. capo (short for capotasto: "nut") : A key-changing device for stringed instruments (e.g. guitars and banjos)
With the addition of the octave note above or below the written note; abbreviated as col 8, coll' 8, and c. 8va
With the soloist; as an instruction in an orchestral score or part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo performer (usually for a short passage)
With the voice; as an instruction in a choral music/opera score or orchestral part, it instructs the conductor or orchestral musician to follow the rhythm and tempo of a solo singer (usually for a short passage)
The time signature4 4: four beats per measure, each beat a quarter note (a crotchet) in length. 4 4 is often written on the musical staff as . The symbol is not a C as an abbreviation for common time, but a broken circle; the full circle at one time stood for triple time, 3 4.
Comfortable (i.e. at moderate speed); also, allegro comodo, tempo comodo, etc.
1. abbreviation of accompanying, accompanying music, accompaniment
2. describes the chords, rhythms, and countermelodies that instrumental players used to support a musician's melody and improvised solos.
Brassy. Used almost exclusively as a French Horn technique to indicate a forced, rough tone. A note marked both stopped and loud will be cuivré automatically
Symbol at the very end of a staff of music which indicates the pitch for the first note of the next line as a warning of what is to come. The custos was commonly used in handwritten Renaissance and typeset Baroque music.
Same as the meter2 2: two half-note (minim) beats per measure. Notated and executed like common time (4 4), except with the beat lengths doubled. Indicated by . This comes from a literal cut of the symbol of common time. Thus, a quarter note in cut time is only half a beat long, and a measure has only two beats. See also alla breve.
Repeat to the sign and continue to the coda sign, then play coda
dal segno al fine (D.S. al fine)
From the sign to the end (i.e. return to a place in the music designated by the sign and continue to the end of the piece)
dal segno segno al coda (D.S.S. al coda)
Same as D.S. al coda, but with a double segno
dal segno segno al fine (D.S.S. al fine)
From the double sign to the end (i.e. return to place in the music designated by the double sign (see D.S. al coda) and continue to the end of the piece)
Slowing down; decelerating; opposite of accelerando (same as ritardando or rallentando)
Solemn, expressive, impassioned
Gradually decreasing volume (same as diminuendo)
From the Latindeesse meaning to be missing; placed after a catalogue abbreviation to indicate that this particular work does not appear in it. The plural, desunt, is used when referring to several works.
Divided (i.e. in a part in which several musicians normally play exactly the same notes they are instead to split the playing of the written simultaneous notes among themselves). It is most often used for string instruments, since with them another means of execution is often possible. (The return from divisi is marked unisono.)
Jazz term referring to a note that slides to an indefinite pitch chromatically upwards.
Pain, distress, sorrow, grief con dolore: with sadness
Finished, closed (i.e. a rest or note is to be held for a duration that is at the discretion of the performer or conductor) (sometimes called bird's eye); a fermata at the end of a first or intermediate movement or section is usually moderately prolonged, but the final fermata of a symphony may be prolonged for longer than the note's value, typically twice its printed length or more for dramatic effect.
A jazz or rock term which instructs performers to improvise a scalar passage or riff to "fill in" the brief time between lyrical phrases, the lines of melody, or between two sections
The end, often in phrases like al fine (to the end)
A symbol (♭) that lowers the pitch of a note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is an eighth or a quarter of a semitone too low.
flautando or flautendo
Flutelike; used especially for string instruments to indicate a light, rapid bowing over the fingerboard
Literally "flight"; hence a complex and highly regimented contrapuntal form in music. A short theme (the subject) is introduced in one voice (or part) alone, then in others, with imitation and characteristic development as the piece progresses.
Funeral; often seen as marcia funebre (funeral march), indicating a stately and plodding tempo.
Fire; con fuoco: with fire, in a fiery manner
Grand Pause, General Pause; indicates to the performers that the entire ensemble has a rest of indeterminate length, often as a dramatic effect during a loud section
A continuous sliding from one pitch to another (a true glissando), or an incidental scale executed while moving from one melodic note to another (an effective glissando). See glissando for further information; and compare portamento.
The imposition of a pattern of rhythm or articulation other than that implied by the time signature; specifically, in triple time (for example in 3 4) the imposition of a duple pattern (as if the time signature were, for example, 2 4). See Syncopation.
A musical texture with one voice (or melody line) accompanied by subordinate chords; also used as an adjective (homophonic). Compare with polyphony, in which several independent voices or melody lines are performed at the same time.
Improvised, or as if improvised
To create music at the spur of the moment, spontaneously, and without preparation (often over a given harmonic framework or chord progression)
A term for brass players that requires them to direct the bell of their instrument into the music stand, instead of up and toward the audience, thus muting the sound but without changing the timbre as a mute would
Getting faster and louder
Opening section of a piece
A suffix meaning as ... as can be (e.g. leggerissimamente, meaning as light as can be)
A suffix meaning extremely (e.g. fortissimo or prestissimo)
A musician who plays any instrument with a keyboard. In Classical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or popular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on.
The same; applied to the manner of articulation, tempo, etc.
[in] place (i.e. perform the notes at the pitch written, generally used to cancel an 8va or 8vb direction). In string music, also used to indicate return to normal playing position (see Playing the violin).
A female singer with a range usually extending from the A below middle C to the F an eleventh above middle C. Mezzo-sopranos generally have a darker vocal tone than sopranos, and their vocal range is between that of a soprano and that of a contralto.
Rapid alternation of a note with the note immediately below or above it in the scale, sometimes further distinguished as lower mordent and upper mordent. The term "inverted mordent" usually refers to the upper mordent.
Dying (i.e. dying away in dynamics, and perhaps also in tempo)
Moved, moving; used with a preceding più or meno, for faster or slower respectively
Motion; usually seen as con moto, meaning with motion or quickly
A dance or tune of a drone-bass character, originally played by a musette
Change: either a change of instrument (e.g. flute to piccolo, horn in F to horn in B♭); or a change of tuning (e.g. guitar muta 6 in D). Note: does not mean "mute", for which con sordina or con sordino is used.Muta comes from the Italian verb mutare (to change into something).
nach und nach (Ger.)
Literally "more and more" with an increasing feeling. Ex. "nach und nach belebter und leidenschaftlicher" (with increasing animation and passion)
In piano scores, this instructs the player to press the damper pedal to sustain the note or chord being played. The player may be instructed to release the pedal with an asterisk marking (*). In organ scores, it tells the organist that a section is to be performed on the bass pedalboard with the feet.
Dying away; decrease in dynamics, perhaps also in tempo
peu à peu (Fr.)
Little by little
Literally 'crying' (used in Liszt's La Lugubre Gondola no. 2).
very gently (i.e. perform very softly, even softer than piano). This convention can be extended; the more ps that are written, the softer the composer wants the musician to play or sing, thus ppp (pianississimo) would be softer than pp. Dynamics in a piece should be interpreted relative to the other dynamics in the same piece. For example, pp should be executed as softly as possible, but if ppp is found later in the piece, pp should be markedly louder than ppp. More than three ps (ppp) or three fs (fff) are uncommon.
Gently (i.e. played or sung softly) (see dynamics)
A Picardy third, Picardy cadence ('p?k?rdi ) or, in French, tierce picarde is a harmonic device used in Western classical music.It refers to the use of a major chord of the tonic at the end of a musical section that is either modal or in a minor key.
Full, as, for example, a voce piena = "in full voice"
Pinched, plucked (i.e. in music for bowed strings, plucked with the fingers as opposed to played with the bow; compare arco, which is inserted to cancel a pizzicato instruction; in music for guitar, to mute the strings by resting the palm on the bridge, simlulating the sound of pizz. of the bowed string instruments)
Jazz term referring to a note that slides to an indefinite pitch chromatically downwards.
pochettino or poch.
Very little; diminutive of poco
pochissimo or pochiss.
Very little; superlative of poco
A little, as in poco più allegro (a little faster)
a gradual decrease in speed
poco a poco
Little by little
Then, indicating a subsequent instruction in a sequence; diminuendo poi subito fortissimo, for example: getting softer then suddenly very loud
On the bridge (i.e. in string playing, an indication to bow or to pluck very near to the bridge, producing a characteristic glassy sound, which emphasizes the higher harmonics at the expense of the fundamental); the opposite of sul tasto
Carrying (i.e. 1. generally, sliding in pitch from one note to another, usually pausing just above or below the final pitch, then sliding quickly to that pitch. If no pause is executed, then it is a basic glissando; or 2. in piano music, an articulation between legato and staccato, like portato)
A musical introduction to subsequent movements during the Baroque era (1600s/17th century). It can also be a movement in its own right, which was more common in the Romantic era (mid-1700s/18th century)
Half of a semitone; a pitch division not used in most Western music notation, except in some contemporary art music or experimental music. Quarter tones are used in Western popular music forms such as jazz and blues and in a variety of non-Western musical cultures.
quasi (Latin and Italian)
As if, almost (e.g. quasi recitativo like a recitative in an opera, or quasi una fantasia like a fantasia)
A light, "joking" or playful musical form, originally and usually in fast triple metre, often replacing the minuet in the later Classical period and the Romantic period, in symphonies, sonatas, string quartets and the like; in the 19th century some scherzi were independent movements for piano, etc.
schleppend, schleppen (Ger.)
In a dragging manner, to drag; usually nicht schleppen ("don't drag"), paired with nicht eilen ("don't hurry") in Gustav Mahler's scores
A symbol (♯) that raises the pitch of the note by a semitone. The term may also be used as an adjective to describe a situation where a singer or musician is performing a note in which the intonation is somewhat too high in pitch.
Alone (i.e. executed by a single instrument or voice). The instruction soli requires more than one player or singer; in a jazzbig band this refers to an entire section playing in harmony. In orchestral works, soli refers to a divided string section with only one player to a line.
A jazz term that instructs a lead player or rhythm section member to play an improvised solo cadenza for one or two measures (sometimes abbreviated as "break"), without any accompaniment. The solo part is often played in a rhythmically free manner, until the player performs a pickup or lead-in line, at which time the band recommences playing in the original tempo.
Sum; total, con somma passione: with great passion
A mute, Note: sordina, with plural sordine, is strictly correct Italian, but the forms sordino and sordini are much more commonly used as terms in music. Instruments can have their tone muted with wood, rubber, metal, or plastic devices, (for string instruments, mutes are clipped to the bridge; for brass instruments, mutes are inserted in the bell), or parts of the body (guitar; French Horn), or fabric (clarinet; timpani), among other means. In piano music (notably in Beethoven's Moonlight Sonata), senza sordini or senza sordina (or some variant) is sometimes used to mean keep the sustain pedal depressed, since the sustain pedal lifts the dampers off the strings, with the effect that all notes are sustained indefinitely.
Tight, narrow (i.e. faster or hastening ahead); also, a passage in a fugue in which the contrapuntal texture is denser, with close overlapping entries of the subject in different voices; by extension, similar closely imitative passages in other compositions
Gradually getting faster (literally, tightening, narrowing) (i.e. with a pressing forward or acceleration of the tempo, that is, becoming stretto)
To be played with a smooth slur, a glissando
Suddenly (e.g. subito pp, which instructs the player to suddenly drop to pianissimo as an effect); often abbreviated as sub.
Literally, "on", as in sul ponticello (on the bridge); sul tasto (on the fingerboard); sul E (on the E string), etc.
"on E", indicating a passage is to be played on the E string of a violin. Also seen: sul A, sul D, sul G, sul C, indicating a passage to be played on one of the other strings of a string instrument.
Actual sound. Primarily used with notated harmonics where the written pitch is also the sounding pitch.
On the fingerboard (i.e. in string playing, an indication to bow or to pluck over the fingerboard); playing over the fingerboard produces a duller, less harmonically rich, gentler tone. The opposite of sul ponticello.
The middle section of a double aria, commonly found in bel canto era Italian operas, especially those of Rossini, Bellini, Donizetti, and their contemporaries as well in many early operas by Verdi. When present, the tempo di mezzo generally signals a shift in the drama from the slow cantabile of the first part to the cabaletta of the second, and this can take the form of some dramatic announcement or action to which the character(s) react in the cabaletta finale.
tempo di valse
In strict time
tempo primo, tempo uno, or tempo I (sometimes tempo I° or tempo 1ero)
All; all together, usually used in an orchestral or choral score when the orchestra or all of the voices come in at the same time, also seen in Baroque-era music where two instruments share the same copy of music, after one instrument has broken off to play a more advanced form: they both play together again at the point marked tutti. See also ripieno.
un, una, or uno
One or "a" (indefinite article), as for example in the following entries
un poco or un peu (Fr.)
One string (i.e. in piano music, depress the soft pedal, altering, and reducing the volume of, the sound). For most notes in modern pianos, this results in the hammer striking two strings rather than three. Its counterpart, tre corde (three strings), is the opposite: the soft pedal is to be released.
In unison (i.e. several players in a group are to play exactly the same notes within their written part, as opposed to splitting simultaneous notes among themselves). Often used to mark the return from divisi.
A fast, lively, or increased tempo or played or done in such a tempo. It is also used as an umbrella term for a quick-paced electronic music style.
The fifth part in a motet, named so most probably because it had no specific range
Improvised accompaniment, usually a repeating pattern played before next musical passage. See vamp till cue. See comp and comping.
vamp till cue
A jazz, fusion, and musical theatre term which instructs rhythm section members to repeat and vary a short ostinato passage, riff, or "groove" until the band leader or conductor instructs them to move onto the next section
Variations, con variazioni: with variations/changes
Velocity, con veloce: with velocity
As quickly as possible; usually applied to a cadenza-like passage or run
Away, out, off; as in via sordina or sordina via: 'mute off'
Vibrating (i.e. a more or less rapidly repeated slight variation in the pitch of a note, used as a means of expression). Often confused with tremolo, which refers either to a similar variation in the volume of a note, or to rapid repetition of a single note.
Turn suddenly (i.e. turn the page quickly). While this indication is sometimes added by printers, it is more commonly indicated by orchestral members in pencil as a reminder to quickly turn to the next page.
Printed music and writing about music involve the use of complex systems of notation and a wealth of technical terms in several languages. The Oxford Dictionary of Musical Terms provides clear, succinct, definitions of a comprehensive range of the musical terms, in English and other European languages, that are likely to be encountered in Western music, including in jazz and popular musical genres. Over 2,500 A-Z entries range across a spectrum of subjects, among them: rhythm, meter, forms, genres, pitch, scales, chords, harmony and counterpoint, notational systems, composition and analysis, performance practice, tempo, expression, musical periods, artistic movements, computer applications, acoustics, and many more. Entries provide etymologies, and are fully cross-referenced. Some are illustrated with music examples and tables. An appendix lists all composers mentioned in the Dictionary, with their dates. An ideal book for composers, professional musicians, those learning to play musical instruments, and members of choirs and musical groups, the Dictionary is also be a useful quick reference book for concert-goers, CD-collectors, and radio listeners.
Do you need to know the Italian musical term for dying away? This new conspectus lists Estinguendo, Deficiendo, Diluendo, Mancando, Morendo, Perdendosi, Smorzando, Sperdendosi, and Spirante. This collection of terms most frequently found in music, with counterparts in four languages, derived its definitions and equivalents using The Harvard Dictionary of Music, Baker's Dictionary of Musical Terms, Elson's Dictionary of Musical Terms, The Oxford Companion to Music, and Grove's Dictonary of Music and Musicians. The languages dictionaries used for verification were Cassel's, Garzanti, Langenscheidt, and Palazzi. The terms were selected as being not only the most important to today's musicians, but those that appear most frequently and are most commonly used. The format consists of four columns with the term in its original language followed by the three other equivalents.
(Meredith Music Resource). This handy guide features: more than 4,000 foreign musical terms; terms in Italian, French and German; more than 160 musical examples; and comprehensive sections for percussion and strings. Click here for a YouTube vide on on Cirone's Pocket Dictionary of Foreign Musical Terms
This carefully crafted ebook is formatted for your eReader with a functional and detailed table of contents. The Focus On books are made out of collections of Wikipedia articles regrouping the most informative and popular articles about a specific subject. The Focus On books are a result of a substantial editorial work of selecting and grouping relevant articles together in order to create a valuable source of information about specific subjects. This book does not contain tables, illustrations or illustration descriptions. Focus On (an imprint of OK Publishing) charges for the convenience service of formatting these e-books. We donate a part of our net income after taxes to the Wikimedia Foundation from the sales of all e-books based on Wikipedia content. You can access the original Wikipedia articles on the internet free of charge.
(Meredith Music Percussion). Confused with the growing list of percussion instruments and terms? This new Meredith publication provides both definitions and an artistic interpretation of how each term is applied to the literature. A great source for conductors, composers, performers and students.
Compiling a pocket dictionary of musical terms at the turn into the 21st century is a bit like engaging in time travel - the compiler, like the reader in turn, moves through literally centuries of terms, each with its own relevance and use: slam dancing and classical ballet, heterophony and time-brackets, coloratura and circular breathing, crumhorns and synthesizers. The reader is struck by the virtual panoply of musical worlds, and by the specialized language each seems to require. The situation is not entirely confounding, however, for although few speak all of these languages, all speak some. Terms from the so-called "common practice" period, used with reference to the overarching musical development spanning Bach to Brahms, are surely the best known. Rhythm, meter, melody, harmony, as musical "descriptors," derive from this era, and continue to function as the basis for comparative understanding of music across time.Terms particular to both earlier and later times are usually less familiar. Music of the pre-Christian era, like that of the Middle Ages and of the Renaissance, is little understood without knowledge of the parallel worlds to which they are closely allied. Music in these periods is frequently tied liturgy, poetry, period instruments, and social practices, all of which show a fundamental integration of music in the lives of individuals contemporary with their times. The present edition, fifth in a serious launched in 1905 by Theodore Baker and revised in subsequent editions by the revered (and irreverent) Russian-born American lexicographer Nicolas Slonimsky, covers it all. There are literally hundreds of terms, including many new additions from so-called "non-Western" music, each defined in clear, succinct language and cross-referenced throughout. There's also a greatly revised "Noteworthy Musicians" section, equally inclusive in its coverage of individuals representing such diverse musical genres as classical, rock, and jazz.
'A Compendium of Musical Instruments and Instrumental Terminology in the Bible' draws on extensive historical research, comparative linguistic analysis and musical study to offer the first compilation of its kind. The volume examines the entire range of musical instruments in the Bible - stringed, wind and percussion - drawing on ancient and modern translations of the Bible and the works of rabbinic teachers, Church Fathers and medieval, renaissance and contemporary scholars. The book offers a historical survey of Hebrew instrumental music - its origins and links with neighbouring cultures, the role of instruments in the religious, social, public and private life of ancient Israel, and the system of musical education - and explores the understanding of Hebrew musical instruments in post-biblical times. This comprehensive volume will be invaluable to musicologists, archaeologists, theologians, historians, philologists and Bible translators, as well as general readers in the subject.
Music is a vital element in the poems and prose of Emily Dickinson but, despite its importance, the function of music as a literary technique in her work has not yet been fully explored; what information exists is scarce and scattered. The significance of the musical terminology and imagery in Dickinson's poetry and prose are thoroughly explored in this book. It considers the music of Dickinson's life and times and how it influenced her writing, how she combined music and poetry to create her own style, several important nineteenth century reviews for what they reveal about the musical quality of her work, and her use of Protestant hymns as a model for her poetry. It also provides insights into musical interpretations of her poetry as related to the author by some fifty modern-day composers and arrangers, and discusses musical reflections of her poems and letters.
The discovery and application of abstract musical properties has had a prominent role in compositional and theoretical literature during the past 40 years, and an accumulation of source material has been produced that makes a single cross-referenced source essential for standard working procedures. Abstract musical properties, most often associated with analytical or compositional systems, are presented here in an unbiased context that allows the reader freedom of association and interpretation. This type of reference is an important tool for anyone who uses set-class analysis in coursework, or independent thesis research.
This book is intended to help verify musical intuition and has an immediate practical application for composers and theorists curious about intervallic properties and transformational potentials of any pitch-class set. It can provide supplemental material for coursework involving theory, analysis, and stylistic awareness of compositional or analytical styles, and also for learning and confirming economical presentations characteristic of recent music-theoretical literature. Organized in two parts, the first is a profile of all set-classes in charts allowing quick comparisons among them, including set-class reference tables, set-classes arranged by ascending interval-class vectors, and a summary of transformational invariances. The second part focuses on individual set-classes, listing its contents, subsets, and significant references to the collection in musical or theoretical literature. Internal segmentations of each set-class that are more structurally informative and memorizable than prime-forms are offered. Three appendices, an extensive bibliography, an index of selected analytical viewpoint and styles, and an index of terms are also included.
This comprehensive approach to functional musicianship at the keyboard includes varied repertoire, theory, technique, sight-reading, harmonization from lead sheets, ear training and ensembles. Great for college non-music majors, continuing education classes, music dealer in-store programs and group piano classes at the middle and high school levels. Book 2 contains 15 units each with a variety of repertoire, exercises, unit review worksheets and an assignment page. The comb binding creates a lay-flat book that is perfect for study and performance.